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Lev Germansky

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  1. Hi @Michael Szyper, Thank you so much!!! Have a great day, Lev
  2. Hi @Michael Szyper, Thank you so much for sharing your process and your explanations and insights!! Two days ago I started to make my own batch of horse sauce following this exact procedure. A this point, I have some questions: 1. How much can it take before the whole mass starts to rot and drip into the lower bucket? Currently, it's pretty hot outside. 2. Do you know what the role of the ashes is or we're just following a general Saltpeter recipe? I did mix in ashes and have been wondering about its function. 3. When you dilute the first solution, you do so in order to get a light golden-colored liquid? Do you have a picture of your solution 1? 4. Is there a particular reason for diluting solution 1 with alcohol and not with water? Does it have longer shelf life in this way? 5. Do you add more ashes to solution 2 or just keep boiling it to get a more concentrated liquid? Do you obtain a darker liquid? Thank you in advance for your answers! Stay safe, Lev
  3. Thank you so much @Michael Szyper! Do you first apply a strong tea & tannin powder solution on maple and spruce and then proceed with everything else? Could you please describe your procedure? Have a great day, Lev
  4. @Michael SzyperThank you for your reply! What do you add as tannins? Joining @charliemaine's question about the buffer solution.
  5. Hi @flexhextexmexIf you mean the model itself then I took it from Francois Deni's book and adjusted it to my own taste. As for the some of the measurements, my point of reference is the poster produced by the Strad. I hope that answers your question.
  6. @Michael SzyperAmazing and clean ground and color! Did you use here the 2 solutions of the horse sauce you had previously used with no casein/ pit lime sealer before the horse sauce or is it something else?
  7. Dear David, Thank you for your invaluable insights! I'm about to start making my first cello based on the "Sleeping Beauty". I traced the model according to o the method described by François Denis. If I understand correctly, you made the cello with neck hill at 29 mm on the treble side and 27 on the bass side of the neck. In addition you made the projection some 4-5 mm higher than the average. Could please tell me, what your final bridge height and the string angle were? What rib height would you recommend? According to the poster it is 123 mm at end pin and 115 and neck root. Thank you in advance, Lev
  8. Dear all, I'm about to start making my first cello. I'd like to get your insights on the process. I'm planing on making the back arching higher the the top arching according to the method described by Torbjörn Zethelius and I'd very much appreciate his comments to this post of mine. I know that the current measurements are with a higher top arching. I traced the model according to the method described by François Denis and would very much appreciate his comments too. I'm still confused about the rib height though. Please feel free to comment and modify my measurements. A list of measurements follows below. 1. Length of template and mold - 735 mm 2. Width of upper bouts - 346 mm 3. Width of CC bouts - 245 mm 4. Width of lower bouts - 435 mm 5. Rib thickness - 1.7 mm 6. Height of ribs at end pin - 125 mm (The original one according to the poster is 123 mm) 7. Height of ribs at neck root - 120 mm (The original one according to the poster is 117 mm) 8. Arching height - top - 32 mm 8.a. Top thickness - center - 5.5 mm and 4.5 at FF-holes and closer to the edge 8.b Top thickness at lower bouts - 5.0 mm and 4.0 mm closer to the edge 8.c. Top thickness at upper bouts - 5.0 mm and 4.0 mm closer to the edge 9. Arching height - back - 30 mm 9.a. Back thickness - center - 7.0 - 8.0 mm 9.b. Back thickness at lower bouts - 3.8 mm 9.c. Back thickness at upper bouts - 3.7 mm 9.d. Back thickness at CC bouts - 4.0 mm 10. Edge thickness of lower and upper bouts - top - 5.5 mm 11. Edge thickness of CC bouts - top - 6.0 mm 12. Edge thickness of lower and upper bouts - back - 5.0 mm 13. Edge thickness of CC bouts - top - 5.5 mm 14. Fluting depth compared to edge thickness - 1.0 mm 15. Edge distance from the ribs - 3.5 mm 16. Purfling thickness - 1.7 mm 17. Purfling distance from edge - 5.0/ 5.2 mm 18. Corner width - to be determined according to the model and overhang 19. Stop length - 400 mm 20. Neck length - nut to top edge - 280 mm 21. Neck length - nut to neck root - 288 mm 22. Neck and fingerboard thickness at nut - 28 mm 23. Neck and fingerboard thickness at neck root - 34 mm 24. Button width - 28 mm 25. Button height - 23 mm 26. Fingerboard length - 590 mm 27. Fingerboard width at nut - 31 mm 28. Fingerboard width at lower end - 64 mm 29. Fingerboard flank thickness - 8 mm 30. Fingerboard curvature radius - 70 mm 31. Romberg - 9 mm at nut and 22 mm at lower end 32. Fingerboard projection at stop - 81/82 mm 33. Fingerboard overstand at neck root - 21-22 mm (Since the model is very wide) 34. Lining thickness - 3 mm 35. Lining height - 15 mm Thank you all in advance, Peace, Lev
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